front cover of From Botswana to the Bering Sea
From Botswana to the Bering Sea
My Thirty Years With National Geographic
Thomas Y. Canby
Island Press, 1998

National Geographic has been called a window on the world and a passport to adventure. Each month an estimated forty million people in 190 countries open its pages and are transported to exotic realms that delight the eye and mind. Such widespread renown gives the magazine's writers an almost magical access to people and happenings, as doors that are closed to the rest of the journalistic world open wide.

Thomas Y. Canby was fortunate to be a NationalGeographic writer and science editor from 1961 to 1991, a time during which the Society's ventures and size grew by leaps and bounds and the resources available to staff were seemingly limitless. In From Botswana to the Bering Sea, he gives readers an on-the-ground look at the life of a National Geographic field staffer and an insider's view of the fascinating dynamics within the magazine's editorial chambers.

Canby's assignments dealt largely with issues of global concern, and his travels took him to the farthest reaches of the planet. This book gives the reader the visas and tickets to share in Canby's experiences -- from a Filipino rice harvest capped by a feast of deep-fried rats, to impoverished villages of Asia and Africa gripped by the world's most widespread famine, to seal hunting and dog sledding with Eskimos in the Canadian high Arctic. Readers match wits with paranoid guardians of the secret Soviet space program; skirt land mines in the flaming oil fields of Kuwait; and dodge death while scuba diving to an archaeological site in a Florida sinkhole. The book also gives insight into the magazine's inner workings: how article subjects are chosen; how writers are assigned and interact; how prolonged trips to impossibly remote destinations are planned; how staffers operate in the field.

Working for National Geographic has been called "the best job in the world." From Botswana to the Bering Sea describes that unique job, and answers from first-hand knowledge the question Canby and his colleagues are so often asked: "So, what is it like to work for National Geographic?"

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front cover of Reading National Geographic
Reading National Geographic
Catherine A. Lutz and Jane L. Collins
University of Chicago Press, 1993
For its millions of readers, the National Geographic has long been a window to the world of exotic peoples and places. In this fascinating account of an American institution, Catherine A. Lutz and Jane L. Collins explore the possibility that the magazine, in purporting to teach us about distant cultures, actually tells us much more about our own.

Lutz and Collins take us inside the National Geographic Society to investigate how its photographers, editors, and designers select images and text to produce representations of Third World cultures. Through interviews with the editors, they describe the process as one of negotiating standards of "balance" and "objectivity," informational content and visual beauty. Then, in a close reading of some six hundred photographs, they examine issues of race, gender, privilege, progress, and modernity through an analysis of the way such things as color, pose, framing, and vantage point are used in representations of non-Western peoples. Finally, through extensive interviews with readers, the authors assess how the cultural narratives of the magazine are received and interpreted, and identify a tension between the desire to know about other peoples and their ways and the wish to validate middle-class American values.

The result is a complex portrait of an institution and its role in promoting a kind of conservative humanism that acknowledges universal values and celebrates diversity while it allows readers to relegate non-Western peoples to an earlier stage of progress. We see the magazine and the Society as a key middlebrow arbiter of taste, wealth, and power in America, and we get a telling glimpse into middle-class American culture and all the wishes, assumptions, and fears it brings to bear on our armchair explorations of the world.
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front cover of Veils And Daggers
Veils And Daggers
Linda Steet
Temple University Press, 2000
National Geographic magazine is an American popular culture icon that, since its founding in 1888, has been on a nonstop tour classifying and cataloguing the peoples of the world. With more than ten million subscribers, National Geographic is the third largest magazine in America, following only TV Guide and Reader's Digest. National Geographic has long been a staple of school and public libraries across the country.

In Veils and Daggers, Linda Steet provides a critically insightful and alternative interpretation of National Geographic. Through an analysis of the journal's discourses in Orientalism, patriarchy, and primitivism in the Arab world as well as textual and visual constructions of Arab men and women, Islam, and Arab culture, Veils and Daggers unpacks the ideological perspectives that have guided National Geographic throughout its history. Drawing on cultural, feminist, and postcolonial criticism, Steet generates alternative readings that challenge the magazine's claims to objectivity. In this fascinating journey, it becomes clear that neither text nor image in the magazine can be regarded as natural or self-evident and she artfully demonstrates that the act of representing others "inevitably involves some degree of violence, decontextualization, minaturization, etc." The subject area known as Orientalism, she shows, is a manmade concept that as such must be studied as an integral component of the social, rather than the natural or divine world.

Veils and Daggers repositions and redefines National Geographic as an educational journal. Steet's work is an important and groundbreaking contribution in the area of social construction of knowledge, social foundations of education, popular educational media, and social studies as well as racial identity, ethnicity, gender. Once encountered, readers of National Geographic will never regard it in the same manner again.
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